Design in Dialogue
The Past is Present: Ancient Inspiration for Contemporary Effect
Achille Salvagni is an avowed modernist, yet his work consistently bears the weight of history – not in overt references, but in its material richness, impeccable craftsmanship, and deeply layered narrative. Salvagni and author Pilar Viladas explore the world of Achille Salvagni, from the ancient influences of his native Rome to his approach to craftsmanship that have helped shape his elegant interiors and limited-edition furniture, lighting, and accessory design. Join us for a conversation on harmony, color, and craftsmanship, along with discerning ruminations on the role of audacity, contrast, heritage, balance, and narrative.
Contemporary Art in Dialogue
Duveen Brothers: Tricks of the Trade from the Greatest Art and Antique Dealers of the Twentieth Century
Curator of the Frick Collection
Author of Duveen Brothers and the Market for Decorative Arts, 1880-1940
Charlotte Vignon will explore the history behind Duveen Brothers, as well as the commercial strategies that led what became the most influential art and antique dealers of the turn of the twentieth century to success. The lecture will draw on an important ensemble of hitherto unexplored archival sources from the firm’s records at the Getty Research Institute, as well as letters and invoices from Duveen Brothers’ clients. European furniture, tapestries, porcelain, and other objets d’art that are today the jewels of American museums’ permanent collections will take center stage in the discussion.
Design in Dialogue
In Defense of Ornament
A conversation with Peter McGough
Presented by The Magazine ANTIQUES
In 1910, the Austrian architect Adolf Loos declared ornament to be a crime. Superfluous decoration was uncivilized, he said; it slowed down the march of progress. The subsequent rise of functionalism in design––a.k.a. modernism––ensured that, for many, ornament was relegated to the ash heap of history. Happily for lovers of beauty, however, it has refused to remain there. Loos himself used ornament in his designs, and critics have long noted the decorative excesses of internationalism modernism. Antiquarians, classicists, and aesthetic rebels never abandoned ornament, and in recent years they have become more vocal, and productive, than ever. If ornament is no longer outlawed, where is it headed? And how does its revival impact our built environment, cultural patrimony, and digital future?